Early / Ancient / Medieval / Folk Music

The ensemble Hesperion XXI, conducted by Jordi Savall, hereby present us with a compilation of medieval works having in common their method of composition, each of which relies on relentless modification and exposition of a very simple theme to create a reasonably fractalized structure perhaps similar to Demilich's 'clockwork' technique, but obviously in an ancient-sounding context. Improvisation and 'free' interpretation of the written score by Hesperion XXI results in some of the most elegant, beautiful, emotive and nostalgic points of view this plague-ridden modern world has to offer on medieval music.

I have long considered the creative impulse to be a visit – a thing of grace, perhaps, not commanded or owned so much as awaited, prepared for. A thing, also, of mystery. This recording endeavours to explore some of that mystery.

It looks as well into the earlier eastern influences of the Celts and the likelihood that they started from as far away as Eastern Europe before being driven to the western margins of Europe, particularly in the British Isles. With their musical influences came rituals around birth and death which treated the land as holy and haunted; this life itself as a visit. Afterwards, one’s soul might move to another plane, or another form – perhaps a tree. The Celts knew then, as we are re-learning now, a deep respect for all the life around them. This recording aspires to be nothing as much as a reflection into the weave of these things. – L.M.

Garmarna is inspired by music of the medieval period, be it their usual repertoire of Swedish folk, or in this case, the music of twelfth century nun Hildegard von Bingen. They studied the source material, and created new instrumental arrangements to surround the lyrics and von Bingen's original melody. Garmarna's style is a mixture of ancient and modern -- medieval music and modern modes are melted together. Layers of strings, guitars, hurdy-gurdy and percussion swirl around the traditional vocals of Emma Härdelin. Emma is at the center singing the old lyrics and melodies while the rest of the band create a new, electronic environment around her.

Found this in a music library, some of the best vocal music I have heard. Exceeds early Latin sacred music in its variety and musicality. The modality of these pieces is reminiscent of some Indian Classical Music. This music is still sung in the Greek Orthodox Church, which is notable for its preservation of tradition in all of the arts over 1000+ years. Here is music that has truly stood the test of time.

Swedish folk ensemble that enacts a lively, aggressive, and technical performance of music that joyously celebrates the power of ancient values in a modern context. Similar to Ottorino Respighi and Lord Wind, as well as some Baroque music.

Türküola/Playasound 1988In the middle of the Balkan and Arabian influencies, the Turkish popular music has kept its remakable independence and originality. More sprightly than the Arabian music and more oriental than the Greek or Bulgarian music, the turkish music remains at once recognizable its roots are in the Central Anatolia, far away from towns and their occidental influencies.The melodies beginning from the highest note and finishing to the lowest note mark an influency from Central Asia to which came on top Caucasian and Greek contributions.There are many kinds of original instruments:the plucked strings,the"Baglama" with 6 strings, the "Bozuk" with 8 strings, the "Asik Sasi" with 9 strings and the "Meydan Sasi" with 12 strings. The Bowed instruments are mainly the "Kemance" with 3 strings and the "Kabak".The wind instruments are the "Zurna" derived from the family of oboes, frequently replaced by the clarinet in the present music, and different types of flute like the "Kaval".Last of all, the percussion instruments are the "Davul" and the "Darbuka".

Note: This is a selection from the original 4 cds. The complete set is long out of print and very expensive; if someone could upload it I would be very delighted.It's especially interesting because it contains the song used for the intro to Graveland's In The Glare of Burning Churches.